Filtering by Tag: east 100th street

The New York Public Library: Podcast #117: Bruce Davidson and Matt Dillon on Lasting Impressions

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by Tracy O'Neill, Social Media Curator

Award-winning photographer Bruce Davidson's prolific body of work includes documentations of the 1960s Civil Rights movement and the gritty underbelly of New York City in the late 70s. He came to the Library this spring for a conversation with Academy Award-winning actor Matt Dillon, who is a great admirer and collector of Davidson’s work. In this riveting discussion between the two great artists, Davidson and Dillon talk about images, storytelling, and the joy of working in silence.

Please visit NYPL for full video.

Up close and Personal with Bruce Davidson on DAZED Digital

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Magnum luminary Bruce Davidson is renowned for the unflinching intimacy of his images of alienated communities – here he lifts the lid on his upfront approach:

USA. New York City.  1980. From the series Subway © Bruce Davidson/Magnum

USA. New York City. 1980. From the series Subway © Bruce Davidson/Magnum

Robert Capa said, "If you're not getting good pictures it's because you're not getting close enough."  Bruce Davidson is one of the forerunners of a movement in radical documentary photography along side Diane Arbus, Danny Lyon and Lee Friedlander.  He shares "I always feel like I need to be taken into a world," by entering environments and social groups that he knows little of.  He has an outsider's viewpoint--peering in and "taking" pictures unapologetically. The closeness of Davidson to his subjects and their lives is precisely what launched the imagery into the limelight with enormous appreciation. 

I enter worlds that I don’t know much about and eventually understand what they’re about, what’s happening in them. Let’s say East 100th Street, I was introduced to a white minister and he said he can’t give me permission to take pictures, ‘you’ll have to meet with the citizens committee and they will look into it’, so that’s what I did. They said ‘photographers come to our neighbourhood all the time and take pictures’ – what we would call ‘poverty pictures’ – ‘and nothing changes’. I said, ‘I work a little differently, I work with large format, four by five-inch camera, I hang out, I photograph, and I give prints to people as I photograph them.’ I used to bring members of the gang pictures that I took outside the neighbourhood, say a fashion photograph to give them a sense of another world outside of their world. Slowly people began to understand that I was helping them, not hurting them, and allowed me in.

What advice does Bruce have to share with young photographers? Stay longer, revisit your subjects, wait.  “I think what I see with younger photographers is they don’t stay around long enough. They photograph, let’s say, someone selling hotdogs on the street, (but) they should do more than just take one picture; they should come back, day after day, maybe even year after year to photograph the entire family that has its business (there)"

USA. New York City. 1959. Brooklyn Gang USA. Reno, Navada. 1960. Director John Huston and Marilyn Monroe during the filming of “The Misfits”© Bruce Davidson/Magnum

USA. New York City. 1959. Brooklyn Gang USA. Reno, Navada. 1960. Director John Huston and Marilyn Monroe during the filming of “The Misfits”© Bruce Davidson/Magnum

Bruce has many pointers on spontaneity, deciding between color, black and white or digital imagery, capturing the mood, taking risks and last but not least: grow a thick skin. 

Read the entire thought-provoking article with Bruce on dazeddigital.com

Source: http://www.dazeddigital.com/photography/ar...

Beauty to the Bluntness of Bruce Davidson's Lens, Stanford Arts Review

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The Stanford Arts Review surveys the work of Bruce Davidson now on exhibit at de Young Museum in San Francisco, CA.  42 vintage prints spanning from The Dwarf (1958) through the revisitation of his former neighborhood in 1998--as photographed in the series East 100th Street--are on display through 11 September, 2016.

"There’s a certain beauty to the bluntness of Davidson’s lens. There’s nothing transcendent about Davidson’s work — not in the dictionary sense of the word (hear no hallelujah chorus when you’re viewing his photographs). This is life as it is, the photographs seem to say: gritty, grungy, un-gorgeous. Davidson found this pore and turned an unflinching eye on its subjects. The resultant photographs are transcendent in the sense that they draw their viewers deep into the simultaneous cruelty and beauty of 1960s America.

The de Young’s new exhibit on Davidson’s work, running until September 11th, showcases the photographer’s work in 1960s Los Angeles, New York, and the South during the Civil Rights movement. Across three regions of the country, Davidson managed to provide a concise summary of the decade’s contradictory claims to war and peace." -M. Xiao of Stanford Arts Review

Read the column in it's entirety on stanfordartsreview.com 

Artist News, Bruce Davidson "Gifts to the Collection" exhibition at de Young

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Bruce Davidson,  Brooklyn Gang , 1959, 1959. Mid-vintage gelatin silver print. Fine Arts Museums of San Francisco, gift of Jerri Mattare. © Bruce Davidson/Howard Greenberg Gallery 

Bruce Davidson, Brooklyn Gang, 1959, 1959. Mid-vintage gelatin silver print. Fine Arts Museums of San Francisco, gift of Jerri Mattare. © Bruce Davidson/Howard Greenberg Gallery 

Bruce Davidson: Gifts to the Collection
27 February 2016 – 11 September 2016
GALLERY 12

Bruce Davidson (American, b. 1933) is one of the most influential photographers of the last half century. Working in both color and black and white, Davidson has documented subjects ranging from the civil rights movement to the urban grit of Harlem and the New York subway system. This exhibition presents a selection of 42 photographs and celebrates important gifts of vintage prints that will be exhibited for the first time since their acquisition in 2013. 

Davidson is known for his humanist outlook and a desire to engage directly with his subject matter, approaches that owe much to his early artistic influences in photography, including Robert Frank, W. Eugene Smith, and Henri Cartier-Bresson. Davidson’s projects include The Dwarf (1958), Brooklyn Gang (1959), and Time of Change (1961–1965), the latter of which chronicles the events and effects of the civil rights movement in both the North and the South. In East 100th Street (1970), he documented a conspicuously poverty-stricken block in East Harlem over the course of two years. Davidson followed this with Subway (1980), and in 1998 he returned to East 100th Street to document the revitalization, renewal, and changes in the neighborhood that occurred since he had last photographed the neighborhood. All of these significant series are represented in Bruce Davidson: Gifts to the Collection.

Source: https://deyoung.famsf.org/exhibitions/bruc...